USA Mid-Century Red Cushion N Steel Diamond Armchairs by Bertoia for Knoll, 1970

To fully understand the design of Harry Bertoia’s (1915–78) 1952 Diamond chair — an austere and photogenic work of woven steel wire, the intricately sculptural wings of which create the illusion of sitting on air — it helps to go back to his college days: In 1937, the Italian-born artist and designer, who emigrated to Detroit at age 15, earned a scholarship to Cranbrook Academy of Art, the illustrious Michigan design school that attracted such luminaries as Florence Knoll, Eero Saarinen and Charles and Ray Eames. Bertoia was deeply influenced by the Eameses, especially by the sculptural quality that was so prominent in the furniture they made. In the 1940s, he left Cranbrook to work for the couple, developing the molded plywood furniture that would become a trademark of their designs.

Bertoia learned to weld while employed by the Eameses, but left their workshop in anger over the lack of credit he received for the important contributions he made there — a dispute that would come to play an important role in the Diamond chair’s development. He eventually took a job at an electronics lab, where he analyzed human mobility for the purpose of designing electronics with easy-to-reach knobs and consoles. 

When his former Cranbrook classmate Florence Knoll tapped Bertoia to make furniture for the Pennsylvania company she had recently founded with her husband, Hans, the designer was swayed with the promise of full credit for designs he produced. Armed with a newly minted background in ergonomics as well as the knowledge he gathered from experimentation with the Eameses, Bertoia capably applied what he’d learned over the years at Knoll, where he utilized thin wires of welded metal to produce pieces that appeared to be floating in the wind — yet remained surprisingly comfortable and supportive. The Diamond chair, a widely revered component of the innovative metal furniture line that Bertoia designed at the company, has been in continuous production at Knoll since 1952 and is available in four finishes today.

As a company that produced many of the most famous and iconic furniture designs of the 20th century, Knoll was a chief influence in the rise of modern design in the United States. Led by Florence Knoll, the firm would draw stellar talents such as Ludwig Mies van der Rohe and Eero Saarinen into its compass. Their work would help change the face of the American home and office.

The company was formed in 1938 by the German immigrant Hans Knoll. He first worked with his fellow ex-pat, the Danish designer Jens Risom, who created furniture with flowing lines made of wood. While Risom served in World War II, in 1943 Knoll met his future wife, Florence Schust. She had studied and worked with eminent emigré leaders of the Bauhaus, including Mies, Walter Gropius and Marcel Breuer. She won Knoll over with Bauhaus notions of industrial arts, and an aesthetic that featured flat and tubular metal frames and angular forms. When Hans died in a car crash in 1955, Florence Knoll was appointed head of the company. It was as much through her holistic approach to design — a core division of the firm was dedicated to planning office systems — as Knoll's mid-century modern furnishings themselves that she brought about the sleek and efficient transformation of the American workplace.

Today, classic Knoll furnishings remain staples of modern design collections and decor. A history of modern design is written in pieces such as the elegant Barcelona chair — created by Mies and Lilly Reich — Saarinen’s pedestal Tulip chair, Breuer’s tubular steel Wassily lounge chair and the grid-patterned Diamond chair by Harry Bertoia.

As you can see from the collection of these designs and other vintage Knoll dining chairs, sofas and tables on 1stDibs, this manufacturer's offerings have become timeless emblems of the progressive spirit and sleek sophistication of the best of modernism.